No one really knew what to expect out of this project, and I think it's safe to say that Permanence exceeds expectations.

I will simply say, if you are a young person who is unsure or drifting by in any way, give Holy Shit a chance. Scream along. Feel better. Live your life the way you find most wonderful.

Wether or not Little Red is better than On A Mission is up for debate; the former is a much more consistent and even listen, but the latter features much higher highs and lower lows.

FreeBase may not find 2 Chainz making any big leaps forward, but what it does offer is a refinement of some of the things people love from 2 Chainz. The beats are top shelf, his flow is versatile but never overly complex, and his lyrics are humorous, if a little unremarkable.

Cadillactica very rarely falls short of its goals, and the few throwaway tracks are unobtrusive enough to not take anything away from the record.

The record isn't bad, it's actually enjoyable. But the band has continued in its trend toward becoming more of a hard rock band and less of the punk icon it used to be.

Damnesia satiates the appetite fans have for new material (as well as washing away the disappointing taste of 2010's This Addiction) while proving that an old band can still do new tricks.

Pleasant Living is anything but a happy album, but that doesn’t mean it can’t point us in the direction of better times.

A multitude of outrageous pieces that form a solid whole.

While the disc is certainly enjoyable in its own write, Terror doesn’t seem to be out to re-invent the wheel--but perhaps refine the vehicle they drive it on.

A shake up in the lyric department would be nice to see next time around, but on this outing Lana Del Rey is able to sell it with striking vocal performances and breathtaking compositions.

While the production may not be as exciting as the first serving, it helps to connect Goblin's deeper meanings with their formation on Bastard.

I've expressed a fair amount of negativity toward Euphoric Heartbreak, but Glasvegas are an endearing, though a bit try-hard, band, and Euphoric Heartbreak is an endearing, though a bit try-hard, album.

There are far less cringe-worthy lyrics, and a sound that seems far more natural for the band as a whole.

Out of Love is old-timey, fun (yet dark), and deep enough to merit sinking your teeth into it a bit.

It's a decent addition to the artist's already impressive resume, but fails to arrest the same attention his earlier releases are famous for.

What draws me most to Lisbon is the exciting reinventions on the band's own formula.

While there is some filler, some of the best Cancer Bats songs can be found here and that alone makes this worth checking out, even if it isn’t a gigantic departure.

It's not that All at Once isn't a likable record; it just seems rather scattershot, and none of it captures the hard-hitting intensity of their debut's best cuts.

Though it is far from perfect and has far more filler than one would hope, North is indeed a fine effort.

Of course, it could have potentially been trimmed down and rearranged slightly more efficiently, but for an official debut full-length, it's a wonderful achievement and a more than worthy listen.

The Dark Leaves is no less unassuming than anything else they've released, and about half of it is squarely in line with the material on their recent albums.

Showroom of Compassion, is an amiable disc, even somewhat pleasant, but entirely too much of the effort feels tepid, ho-hum and downright uninspired.

The full blown cathartic experience that many savor through a live set sometimes mishits on the album, but not so much to be trash-bin worthy.

As a complete work, Stone Temple Pilots is sturdy and probably more surprising for the fact that it was ever made than for its actual contents.

DSOL speaks the dirty rocker punk kvlt language that could put Pantera and Gallows fans side by side.

Morning Phase actually matches Sea Change in melodic beauty, and it might even surpass it in production quality, but the cryptic, repetitious lyrics of songs like “Blackbird Chain” and “Heart is a Drum” fall so far short of the devastating heartbreak that Beck wove on songs like “Guess I’m Doing Fine” and “Lost Cause” that it’s impossible to see this record ever achieving the classic status of its predecessor.

While they don't throw any curveballs or stir the pot too much, the band definitely stays true to their core, crafting yet another memorable piano pop-rock record with these stories.